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Bright Eyes
Noise Floor (Rarities 1998-2001) | Saddle Creek
By
SAM MACLAUGHLIN
|
January 16, 2007
BRIGHT EYES, NOISE FLOOR (RARITIES 1998-2001)
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3.0
Stars
Too often, B-sides and rarities are B-sides and rarities for a reason. But Bright Eyes’ Conor Oberst is one of those songwriters who’s as musically adventurous as he is prolific. So with lots of years to cover, and so many variations in the Bright Eyes line-up over those years,
Noise Floor
is a tour through all the twists and turns he’s taken his band through in a relatively short period. Weepy bedroom solipsism is met by sharp social commentary, lonely acoustics with warm big-band arrangements and new-waved electronics. “I’ve Been Eating (for You)” is anorectic in lyrics and music, and “Blue Angels Air Show” never makes it off the ground. But then there’s “Weather Reports,” an acoustic number rendered heartbreaking by Maria Taylor’s understated back-up vocals. And “The Trees Get Wheeled Away,” a countrified consideration of life on stage.
Noise Floor
is a smattering of moods and modes all tied together by Oberst’s love-it-or-loathe-it voice. Which is a pretty good summation of Bright Eyes.
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It’s just an Omaha boy playing some good old country pop — for once.
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What’s the latest sign that emo has become a true part of the musical mainstream?
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For years we waited. And then we started making jokes about it. And then the jokes got old. So we waited some more. Clap Your Hands Say Yeah, "Love Song No. 7" (mp3)
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“Why is he such a big deal right now?” a friend asked with some exasperation earlier this month when I mentioned that I had a phone date with M. Ward. M. Ward, "To Go Home" (mp3)
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Adam Stephens and Tyson Vogel have long been trying for a sound that’s both earthy and artsy, Bright Eyes folk rock delivered with an aw-shucks squint.
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This LA-based emo-rock outfit are the brainchild of young Max Bemis, an overachieving singer-songwriter who’s as unnerved by scene politics as he is by romantic tribulations.
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